Enhanced descriptions from Syndetics:

The Eton schoolboy, Philip Heseltine (Peter Warlock), was not yet 17 when he first met his musical hero Frederick Delius at a concert of his works given by Sir Thomas Beecham at Queen's Hall in 1911. The next day he wrote an ecstatic letter to Delius enthusing over `such perfect performances of such perfect music'. Flattered and intrigued by the young admirer, Delius replied in warm and encouraging terms. And so began a correspondence that was to last until Heseltine's untimely death in 1930. It is fortunate that each composer kept the others' letters and, now placed in chronological order, they give a fascinating picture, not only of the two men and their music, but also of musical life in England and Europe. In their often frank writing the characters and interaction of the two men is highlighted and in their informal and often gossipy way they illuminate the musical life and many personalities of the time. Barry Smith, the author of a recent highly regarded biography of Peter Warlock, has fully researched the background of the correspondence and by means of generous annotations and linking narrative has produced a compelling story of an unusual and unique friendship between two composers.

Table of contents provided by Syndetics

• Introduction
• 1 1911
• 2 1912
• 3 1913
• 4 1914
• 5 1915
• 6 1916
• 7 1917
• 8 1918
• 9 1919
• 10 1920
• 11 1921
• 12 1922
• 13 1923
• 14 1924
• 15 1925
• 16 1926
• 17 1927
• 18 1928
• 19 1929
• 20 1930
• Appendix: Heseltine arrangements and translations of works by Delius
• Select Bibliography
• Index

Reviews provided by Syndetics

CHOICE Review

Unexpectedly irritating, funny, interesting, exasperating, and touching, the 20-year correspondence between Delius and Philip Heseltine (a.k.a. Peter Warlock) illuminates the manic-depressive, persistently naive personality of "Phil" Heseltine and the clearly eccentric nature (genius?) of "Fred" Delius, the latter a minor, even marginal composer, the former a negligible one. Both men isolated themselves from life's mainstream in their respective countries--Warlock in England, Delius in rural France (with periodic stays in Germany and Norway). Writing music despite disabling illness, Delius mailed manuscripts to Heseltine, who made (gratis) dozens of piano transcriptions of orchestral scores. Both men admired Nietzsche, both despised organized Christianity, both hated war (Delius presciently accused the major WW I powers of gross materialism). Both deplored Britain's understanding of, and support for, the arts, especially compared to its veneration of sports. Although their musical opinions changed over time (Heseltine tired of Delius's music), both tended to dislike the important composers of the day (Strauss, Ravel, Debussy, Stravinsky, Schoenberg, the "British, French and Russian schools"). Warlock edited early English music and wrote occasional articles for doomed musical journals. Although none of this seems compelling, inexplicably the correspondence is fascinating--even to jaded readers. Including excellent editorial notes and introductions, this superbly edited volume is highly recommended for experts and novices alike. W. Metcalfe; emeritus, University of Vermont

Author notes provided by Syndetics

Author is a noted authority on the composer Peter Warlock. He is Professor of Music at the University of Cape Town and Organist and Master of the Choristers, St George's Cathedral, Cape Town, South Africa